Reviews

Surprisingly Good Palace Intrigue Drama with Great Characters

I must be honest: I do not like palace-intrigue historical C-dramas unless there is a decent amount of fantasy elements or romance takes up over 60% of the plot. That’s my baseline.

I started The Princess Royal several times but couldn’t get past episode 1. Now that I have finally finished it, I don’t understand why I couldn’t continue earlier. Maybe it’s because I went into it after watching xianxia—xianxias and historicals have a very different vibe. So perhaps the switch from one subgenre to another did not work at a time.

But this drama actually surprised me in a good way.

Production values and action

- Very high budget production. Everything from the costumes to the fight choreography felt top notch.
- I particularly liked the action scene in the first episode and there was a stunning sequence in the last episode.

There were additional strong action beats in between, but those two stood out.

Plot (brief, non-spoilery recap)

I’m not the kind of person to recap the plot — most people reading reviews already know the premise. They basically want to know if the drama is worth watching. But for anyone who doesn’t: it’s a story about a married couple (who die) traveling back in time to the period before they got married. They get a second chance at life and must decide whether to repeat the same path or choose something else.

Pacing and storytelling

If you like palace intrigue, it’s absolutely worth watching — one of the better ones I’ve seen. The story moves pretty fast in terms of development. Yes, there are long dialogue-heavy scenes, but they don’t drag the plot. Most of them are fairly meaningful and easy to watch. There were only a handful of draggy scenes toward the end, but not nearly as many as in other historical dramas I’ve seen.

Acting and characters

The acting is superb. I particularly liked Zhao Jin Mai in this role. I didn’t like her in Shine on Me — she wasn’t convincing in that one for some reason (maybe direction). In The Princess Royal she was perfect.

There’s a love-triangle situation that settles halfway through. The tension between Pei Wen Xuan and Su Rong Qing is amazing and holds up until the end. This is one of those rare dramas where the tension between male characters vying for one woman is convincing and the second male lead doesn’t just exist for a trope — he has meaningful presence and development and actually is a worthy opponent.

A lot of characters were interesting and had good storylines. That’s rare for me in historical dramas; I usually skip a lot when it comes to supporting characters, but I didn’t here.

Lead couple: Li Rong and Pei Wen Xuan

Their relationship is complicated because they lived as half-enemies in the previous life—existing on opposite edges of the same circle. In their second life they get a chance to change things. The dynamic is enemies-to-lovers at first: they bicker, scheme against each other, and then marry again because despite their animosity they love each other deep down. Even if they don’t understand it just yet. Their relationship gets crazy and toxic, and very sweet eventually.

I liked the power dynamics a lot. Li Rong is a princess who’s a force to be reckoned with and is the dominant one in the relationship from the beginning and throughout.

Pei Wen Xuan isn’t always the guy to save the girl. She saves him plenty of times too. He’s shown vulnerable in many scenes (the punishment scene at his family’s place, fainting in the court session), though he still saves her too and gets injured doing so.

The best part I liked about his character is that he has learned his past life mistakes. He lets Li Rong take the lead often; he saves her but also allows her agency. I liked that balance.

Palace intrigue and supporting arcs

Reason why I said that this drama surprised me a lot being the palace intrigue drama is because romance is not as prevalent in here as I would like. It seems to be woven evenly into the main story arc which involves the struggle between the noble families and people who are opposing them. Despite my occasional dislike of palace intrigue, I liked the way it was handled here.

Many supporting characters and their storylines were compelling — a rare win for a historical for me.

Around episode 30 the emperor’s character/background comes in heavily, which is where many C-dramas suffer with long torturing scenes that could be trimmed. This drama does have some of that, but it isn’t as bad as usual.

Episode 33 has pretty sick plot twists that help keep the pace going.

Favorite scenes/episodes

Episode 20: the sequence where Pei Wen Xuan catches Li Rong in the flower field — I watched that sequence and the minutes before it several times. The cinematography and the execution and direction are amazing.

Episode 23: the banquet hall performance between the royal siblings, Su Rong Qing and Pei Wen Xuan — stunning.

First episode action and the stunning sequence in the last episode (already mentioned) are also standouts.

Specific dislikes/emotional beats

I hate how Su Rong Qing’s confession affected Li Rong after the cliff fall. It’s understandable Li Rong reacted that way after learning who truly killed her, but it was disheartening to watch her determination to care for her little brother disappear. I’m glad that in the end she allowed herself to believe in humanity again.

Ending and final impressions

The last three episodes were pretty good, with the exception of a couple of draggy scenes — but those dragged scenes made sense because they focused on major characters.

Bonus: it’s a happy ending. Characters who had tragic or sad outcomes in the previous life get good lives and good endings this time. Everyone gets what they want and what they deserve.

If you like historical female-centric dramas, palace intrigue, and are a fan of the actors, this is a pretty good watch.

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Quando la forma prevale sulla sostanza

Se questo drama fosse uno dei tanti pacchetti esposti in una vetrina, allora sarebbe senza ombra di dubbio quello dall’incarto più scintillante, capace di distinguersi da tutti gli altri e attirare lo sguardo fin dal primo istante. Una confezione davvero spettacolare ma che, una volta rimossa e messi a nudo tutti i contenuti dei pacchetti sullo stesso scaffale, non si farebbe più riconoscere nettamente come prima.
E’ così che “Pursuit of Jade” arriva sullo schermo: confezionato in un involucro che non può passare inosservato: Zhang Ling He e Tian Xi Wei come protagonisti, un budget consistente, una campagna marketing che dovrebbe essere presa ad esempio e che ne ha fatto uno dei drama più attesi dell’anno. Eppure, dopo averne seguito l'intero arco narrativo, ci si trova di fronte a un'opera che incarna perfettamente le contraddizioni di molte produzioni cinesi contemporanee: tecnicamente ineccepibile, visivamente sontuosa, ma narrativamente fragile, quasi titubante nel costruire qualcosa di davvero memorabile.

La prima metà del drama è sicuramente la migliore e porta le aspettative a livelli stratosferici. L'ambientazione iniziale nel villaggio di Lin'an ha un fascino autentico: Fan Changyu, una macellaia dal cuore generoso ma dalla mano ferma, salva dalla neve un uomo ferito che si rivelerà essere il marchese Xie Zheng, creduto morto. Mantenendo segreta l'identità di lui, ne nasce un matrimonio di convenienza che, anziché scivolare nei soliti cliché, regala momenti di genuina freschezza. La chimica tra i due protagonisti funziona, le scene di vita quotidiana sono permeate di calore, e la regia cesella ogni inquadratura con cura quasi maniacale. Tian Xi Wei, in particolare, restituisce una Changyu vivace e credibile, fresca e originale, capace di alternare la durezza della sua professione a una vulnerabilità mai sopra le righe. È proprio questo contrasto – la macellaia che diventa marchesa – a costituire il motore emotivo iniziale. Il dramma sembra voler raccontare una storia di crescita reciproca, di due persone che imparano a fidarsi l'una dell'altra al di là delle convenzioni sociali. E per un po' ci riesce. Tremendamente bene.

La seconda metà del drama è però caratterizzata da una leggera ma costante perdita di quota. Il passaggio all'arco militare segna l'inizio di un lento ma inesorabile declino. Changyu si arruola, e quella che poteva essere un'evoluzione organica del personaggio diventa improvvisamente una forzatura narrativa. La sua ascesa a generale – dopo appena due battaglie – sfida qualsiasi sospensione dell'incredulità. Non basta aver avuto un padre che l'ha addestrata da bambina per giustificare la capacità di uccidere generali esperti con due colpi di spada. La sceneggiatura sembra voler costruire a tutti i costi una "leggenda della donna generale", dimenticando che la forza del personaggio risiede altrove: nella sua intelligenza pratica, nella sua umanità, nella sua capacità di navigare le complessità della vita senza bisogno di impugnare una spada in prima linea.
Non passano anni che possano rendere credibile una tale trasformazione, e il breve lasso di tempo rende l’evoluzione ancor più precipitosa. L’affascinante, originale e singolare macellaia più che vedere la crescita del proprio personaggio sembra proprio evolvere in una figura completamente diversa, pur presa in prestito da vicende storiche realmente accadute. Rispetto al romance, ci si è un po’ dilungati su alcuni meccanismi: l’identità segreta di lui resta tale per una quantità impressionante di episodi e, una volta venuta a galla, occorre mettere in conto un’altra quantità di episodi dove lei porta avanti il cruccio della differente estrazione sociale. Tutti aspetti sensati e leciti, ma che andavano sviluppati nei giusti tempi e non trascinati all’infinito.
Ancora più problematico è il trattamento riservato a Xie Zheng. Il personaggio, presentato inizialmente come un generale temuto, un uomo dal passato oscuro e dalla ferocia repressa, viene progressivamente svuotato. Le sue reazioni diventano sproporzionatamente pacate, la sua autorità militare si dissolve in una serie di malattie improvvise che lo costringono a letto ogni pochi episodi, e il suo ruolo si riduce a quello di spettatore ammirato della moglie, dove ci si ricorda che è il famoso e temuto Marchese di Wu’ An solo nei brevi incontri notturni con i suoi sottoposti, durante i quali viene aggiornato sugli sviluppi della situazione (tolto questa sorta di “bollettino”, si limita a fare il convalescente e ad aspettare pazientemente di vedere cosa succede). Quando Changyu lo droga per partecipare a una battaglia al posto suo – un atto che in qualsiasi contesto militare comporterebbe conseguenze gravissime – la sua risposta è un silenzio complice. Non c'è conflitto, non c'è confronto, non c'è nemmeno un accenno di autorità ristabilita. Il paradosso è che proprio mentre la protagonista viene esaltata oltre ogni misura, la sua autonomia narrativa ne risente paradossalmente. Per farla brillare, il drama finisce per costruire intorno a lei un mondo troppo accomodante, dove le conseguenze delle sue azioni vengono sistematicamente rimosse e dove la sua ascesa avviene in un vuoto di ostacoli credibili.
Ad arricchire ulteriormente il quadro ci pensa la coppia secondaria. Qi Min e Yu Qianqian – quest'ultima tragicamente confinata in un finale che nega ogni possibilità di felicità – rappresentano di fatto il nucleo emotivo più interessante dell'intera opera. Le loro dinamiche, per quanto tossiche, hanno il coraggio di mostrare desiderio, conflitto, ambiguità morale. Deng Kai, splendido psicopatico dalla chioma argentata nel ruolo di Qi Min e indiscutibilmente il mio personaggio preferito, offre un'interpretazione di gran lunga più sfaccettata rispetto a quella dei protagonisti, e la sua chimica con l'attrice che interpreta Qianqian genera una tensione di gran lunga superiore a quella della coppia principale. È paradossale: la storia secondaria, quella destinata a rimanere nell'ombra, è quella che rivendica con più forza la complessità che il resto del drama sembra rifuggire. Ho apprezzato anche l’altro pairing secondario, più modesto e per certi versi goffo, ma al tempo stesso anche molto tenero.
Passando ai cattivi, il problema è molto semplice: sono troppi. Quattro fazioni nemiche creano una confusione politica che neppure la sceneggiatura sembra in grado di districare. Il risultato è che l'intreccio politico, anziché arricchire la narrazione, la appesantisce, costringendo il finale a precipitare in una ridda di rivelazioni accatastate l'una sull'altra senza il giusto respiro.
Negli ultimi dieci episodi, se possibile, la situazione peggiora ulteriormente: le scene sono giustapposte senza fluidità, le transizioni appaiono forzate, e alcune sequenze – come il combattimento uno contro uno nel bel mezzo di un colpo di stato – sfiorano il ridicolo. Soprattutto, il drama inizia a "raccontare" ciò che prima "mostrava": le motivazioni vengono spiegate a voce, i conflitti interni vengono dichiarati anziché messi in scena, e l'empatia che si era costruita nei primi venti episodi si disperde in un susseguirsi di dialoghi espositivi.
Il finale è piuttosto deludente: dopo un penultimo episodio dove vi è un caos narrativo in cui personaggi ben costruiti agiscono in modi non del tutto lineari, ecco che l’ultimo capitolo si chiude con uno "scenario alternativo" che sembra più un ripensamento dell'ultimo minuto che una scelta autoriale coerente. La sensazione è che la produzione, dopo aver speso tutte le energie per confezionare un prodotto visivamente impeccabile, si sia accorta all'ultimo momento di dover risolvere anche la storia.
E qui sta il punto. “Pursuit of Jade” è un drama che eccelle per molti versi: volti noti, paesaggi mozzafiato, fotografia curata, colonne sonore accattivanti, un filtro lattiginoso che rende ogni inquadratura simile a un dipinto. Ma tutto questo, da solo, non basta. Spettacolare – di quella bellezza straordinaria che però non può e non deve durare in eterno (i paesaggi innevati rischiarati dalla luce calda del sole sono tra i più belli mai visti, eppure a un certo punto il fascino è diventato quasi esasperazione, e i fiocchi di neve continuavano a volteggiare nell’aria come pulviscolo anche quando non avevano quasi più ragione di esserci).
I costumi risultano belli e curati: ho trovato inizialmente strambe le due “antenne” sul copricapo del Marchese, ma apprezzo il fatto che trovino un riscontro storico che non conoscevo. Rispetto alla protagonista, ho preferito di gran lunga gli abiti indossati nella prima parte, forse più inusuali del solito ma proprio per questo anche più distintivi e caratterizzanti.

In generale, la sceneggaitura sembra scritta con l’obiettivo di ammaliare e accontentare il pubblico: attori belli, sguardi languidi, baci appassionati, una protagonista che emerge senza troppe difficoltà. Su tutto questo si spende a mille, fornendo materiale in abbondanza. Ma nel farlo, rinuncia a qualsiasi ambizione di complessità. I personaggi vengono smussati per diventare più facilmente amabili, i conflitti vengono risolti senza lasciare cicatrici, la Storia viene ridotta a sfondo decorativo per storie d'amore patinate.
OST davvero belle e coinvolgenti, forse nella prima parte in certe scene un po’ predominanti sui dialoghi, ma non starei a cercare il pelo nell'uovo. Sigla iniziale particolarmente deludente: l’ho trovata insulsa e banale, davvero sottotono se si considera invece l’attenzione messa nell’impatto visivo delle diverse scene di ogni singolo episodio. Ci si poteva inventare qualcosa di meglio, di più originale, insomma.
Cast, già detto, sicuramente di prim’ordine: Tian Xi Wei è stata per me una scoperta che mi auguro di rivedere in futuro, con un carisma innato e una grande espressività. Zhang Ling He, con la sua bellezza elegante e composta, dimostra ancora una volta una presenza scenica che non necessita di parole. Riesce a riempire i momenti di silenzio con grande sicurezza, portando in scena un personaggio estremamente umano ed equilibrato. Un tipo di caratterizzazione che è nelle corde dell’attore, ma che mi chiedo se rappresenti anche un suo limite: spero di vederlo, in futuro, dare prova di una maggiore versatilità interpretando qualche personaggio un po’ più particolare.

Sia chiaro, non si tratta di un brutto drama, anzi, complessivamente merita, poco ma sicuro. La qualità della produzione è indiscutibile, e gli amanti del genere troveranno senz'altro molti momenti di soddisfazione. Ma rispetto a quanto promette, mantiene meno del previsto. È il prodotto perfetto per un mercato che premia il riconoscibile rispetto all'originale, la sicurezza rispetto al rischio.
Resta, alla fine, una sensazione di opportunità mancata. Perché il potenziale c'era: l'inizio era solido, i due protagonisti ben caratterizzati. Ma la seconda metà, frettolosa e confusa, tradisce quella promessa iniziale, lasciando lo spettatore con l'amaro in bocca di un'opera che avrebbe potuto essere memorabile e invece si è accontentata di essere, semplicemente, un altro prodotto di successo.
Consigliato? Direi tranquillamente di sì. Ma più per ammirare la tecnica che la storia in sé: chi cerca un drama visivamente appagante e non dà troppo peso alla coerenza narrativa ne rimarrà probabilmente molto soddisfatto.

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More than an idol-fan drama

Honestly this was a very very solid drama that actually dealt with very real aspects of celebrity culture in Korea. I have always wanted a good drama that handled the entertainment industry in Korea but everytime a new production rolled out it was disappointment after disappointment.

This drama however, really got a lot of things right and therefore gets a pretty great score. It dealt with record labels, obsessive fan culture, sasaeng fans, in group dynamics, paparazzi, how privacy is sadly not a right but a luxury for many people in the industry and just overall the backstage of the overly-glamourized world we see on our screens. I hope many people who watch it can see the real life correlations of some of the storylines, especially the ones regarding obsessive fans and paparazzi.

I also thought the crime/mystery aspect of the show was done pretty well and kept you on your toes.

When it came to the characters; I really loved the chemistry between Sooyoung and Kim Jae Young, they were truly cast perfectly. I could truly see Jae Young as an idol in real life tbh and I loved that he sang all the songs himself. I also believe that Sooyoung being an idol herself who has gone through many of the things that the male character goes through on the show really helped to ground the plot in reality. Overall, both of their acting was very well done.

Now! One thing that I genuinely didn't need in this show was the second male leads romantic feelings towards the FL. I think someone needs to tell these writers that platonic male female relationships do EXIST like why does it scare them so much to portray a healthy M-F friendship? However, I really enjoyed Kim Hyun Jin's acting and really liked his character despite this, I also think he handled the situation very well.

I was also very scared as to how they would handle the fan-idol dynamic and how they would navigate that on a script level but Sooyoung's character was written so well and she was just such a great lawyer and her mindset was amazing that I fully rooted for her. I think it was done in the best way possible.

ALSO, finally a drama where a (SPOILER) childhood connection actually made sense and added a very lovely layer to the story. It was very well done and you could tell the intention behind it rather than a random plot device the writers put to fill up screen time and fake a connection between the leads.

The show started and ended in a very consistent quality which sadly is a rare thing these days. If you like shows/movies set in the entertainment industry then this one is a must watch in my opinion.

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Amazing evocation of culture and tradition

After finishing this series, my mind was still immersed in the world of magic and the story itself. My only criticism concerns the actor playing Khem. His performance was very emotionless throughout the series, which I found problematic. This series authentically depicts the real-life aspects of black and white magic, and to evoke or convey that to the audience, an actor needs to have a certain skill. He is very cute, but in this series, his cuteness feels different—more nuanced. As a result, I rated the series 8.5/10, even though I believe it deserves a higher score. However, his acting influenced my rating to be lower.

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Beautiful or toxic?

I see this movie often described as a “beautiful” friendship, but I don’t see it that way at all. What I watched and saw was an unhealthy, co-dependent attachment between two people who were never taught, so never knew, how to communicate or set boundaries.

Ha-eun suppresses everything she feels out of fear of abandonment, while Mi-so takes up all the emotional space, crossing boundaries without consequence. It's then somehow romanticised and regarded as profound but it creates an imbalance which is damaging. Their bond feels intense, but intensity alone doesn’t make something meaningful or healthy.
The idea that they are each other’s “home” is also misleading. It only feels that way because neither of them had the emotional support or guidance to develop healthy relationships elsewhere. Their bond is framed as a deep understanding of each other, but in reality, it's two people reinforcing each other’s unmet needs.

While the movie captures the emotional weight of their connection, it fails to challenge the toxicity of it. There’s no real accountability, no intervention, and no clarity that what we’re watching is harmful. That makes the “beautiful” label particularly problematic, especially for younger audiences who may confuse emotional intensity with love or value.

In the end, I feel this movie is not a beautiful story but a tragic one. It's a portrayal of the consequences of people clinging to each other without the tools to grow, communicate, or let go.

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overrated

20 episode pertama jalan ceritanya masih bagus dan masuk akal, tapi setelahnya jadi berasa stuck dan jalan ditempat sampe ep 36.

gaada perkembangan karakter yg signifikan, terlalu berpusat sama FL yg pengen bgt keliatan OP dan ini bikin 4 sekawan geng penjagal jadi cuma *hiasan* aja, gaada tujuan lain. bahkan Marquis Wu’an jadi keliatan ‘biasa aja’ saking sering munculnya scene FL unjuk kekuatan.

dari segi plot & scenes romance juga kenapa malah lebih banyak, lebih dominan, lebih menyentuh side characters kaya Qimin & Gongsun? Main leadsnya justru gak berkembang, bahkan di satu titik FL nya malah bikin ‘dinding’ tapi masih terus aja nunjukkin kalo dia punya perasaan ke Marquis… gak konsisten 😭😭

episode 37-40 itu berasa banget kaya “diburu-buru” karna semua kisah dari “17 tahun lalu” diceritain dan dijelasin semua disitu, banyak bgt flashback-flashback yang seharusnya bisa ditunjukkin di episode tengah2.

overall, drama ini bagus buat di tonton tapi banyak banget plot hole nya, male leads nya juga kaya cuma antara: aura farming atau gak terluka di hampir keseluruhan jalan cerita, gak bener-bener nunjukkin skill nya sebagai Marquis yg udah di medan perang selama 10 tahun.

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English and Portuguese Review

𝐔𝐧𝐬𝐞𝐭𝐭𝐥𝐢𝐧𝐠
"Don’t Step Out of the House" is, for me, the purest form of psychological horror in film.

The premise drops us straight into the story of two orphaned children surviving in a world dominated by "Beelzebub," where there is only one golden rule: do not leave the house, no matter what.

The core idea is incredibly interesting and truly hooks you into wanting to understand what’s happening. The problem, however, is that almost nothing is ever answered. You spend the entire time trying to imagine how that world works, what actually exists outside, and how it all started, since the movie doesn't give you any clear explanations.

Since it’s an independent production, I wasn't expecting top-tier visual effects, but what the film delivers works perfectly within its scope. The real fear here doesn't come from CGI, but from the characters' behavior. The interactions are bizarre and make you feel completely uncomfortable, leaving you wondering what is going through their heads—especially since it involves defenseless children in such dark situations.

It’s a solid experience for those who enjoy "weird" and unsettling cinema, but for anyone who wants to actually understand the lore or the universe, the movie feels incomplete.

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𝐈𝐧𝐪𝐮𝐢𝐞𝐭𝐚𝐧𝐭𝐞
"Don’t Step Out of the House", pra mim, é o mais puro terror psicológico em forma de filme.

A premissa nos joga direto na história de duas crianças órfãs sobrevivendo em um mundo dominado por "Belzebub", onde a regra de ouro é uma só: não saia de casa, custe o que custar.

A ideia base é muito interessante e realmente te instiga a querer entender o que está acontecendo. O problema é que quase nada tem resposta. Você fica o tempo todo tentando imaginar como aquele mundo funciona, o que realmente existe lá fora e como isso aconteceu, já que o filme não entrega isso de forma clara.

Por ser uma produção independente, eu já não esperava efeitos visuais de ponta, mas o que o filme entrega funciona muito bem dentro da proposta. O verdadeiro medo aqui não vem do CGI, mas do comportamento dos personagens. As interações são bizarras e te deixam completamente desconfortável fazendo você se perguntar oque se passa na cabeça dos personagens, especialmente por envolverem crianças indefesas em situações tão sombrias.

É uma experiência para quem gosta de "bizarrice", porém pra quem quer saber mais sobre o universo, o filme é incompleto.

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She Leads, He Follows: The Power Shift That Changed Everything

My first drama of Park Shin-hye was The Heirs. Honestly, I liked her in that show, and she definitely fit the role, but… I don’t know, something felt off. She was quiet, emotional, sweet—cute, even—but I kept thinking she was capable of so much more. The character felt kind of safe, and I wanted to see her take over a story, not just drift along in it.

Then came The Judge from Hell. And wow… just wow. My jaw literally dropped. Almost overnight, I became obsessed with her. She was bold, ruthless, and completely magnetic. From the first scene, I couldn’t take my eyes off her. The way she carries herself, the subtle smirk, the chilling confidence—it’s like the screen bends around her energy. I realized right then that Park Shin-hye isn’t just great in romances—she absolutely slays when she’s allowed to lead.

And oh my god, the punishment scenes. I was cheering, I swear. The depth of her voice when she said, “지금부터 진짜 재판을 시작하겠다” (“From now, the real trial begins”)—it gave me goosebumps. And then, one by one, the criminals just… disappeared. I literally sat there thinking, “Wait, why did you stop there? You should’ve gone on a bit longer!” I know it sounds kind of crazy, but that’s exactly how much the show made me feel her power. It wasn’t just acting—it was thrilling, it was scary, and somehow… it was incredibly satisfying.

I also loved how the male lead reacted to her. You could see he was stunned, constantly trying to keep up with her. Usually, in K-dramas, it’s the male lead who drives the story, but here? She owns it. The story follows her, her choices, her boldness. Watching that was just… insanely satisfying. Like, finally—a drama where the female lead isn’t just reacting, she’s the force everyone else orbits around.

And the music. OMG. Italian opera-style, dark, vicious, dramatic. It hits just right, and I can still hear it in my head. It makes every punishment scene feel epic, like you’re watching a dark opera unfold in a courtroom. Perfect match for the drama’s vibe.

Right now, I’m also watching Undercover Mrs. Hong, and I’ve realized something about myself: strong female leads just completely captivate me. To the point that I end up watching every single drama they’re in. After seeing Park Shin-hye in The Judge from Hell, I can’t help it—I want to see her in everything. She doesn’t just act; she dominates the screen, the story, the mood… everything.

Honestly? She’s made me a fan for life. I feel like I finally understand what it means when someone says a performance is magnetic. She’s the kind of actress who makes you forget everyone else exists, and I am here for it.

Overall, this felt like a turning point for me as a viewer. I went from casually appreciating Park Shin-hye to genuinely paying attention to her as an actress. She may not need to dominate every role, but when she’s given the right material, she clearly knows how to take control of a scene—and that’s something I’ll be looking out for in her future projects.

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A modern fairy tale romance?

Mr. Kurosaki's Pure Love Never Stops is a romance based on a manga between a high school girl and a twenty-something guy. (The actor is 24, but the exact age of the character is not particularly revealed. The character has successfully published a few novels, and has a younger half-brother who's in college.) I believe the intention of the series is to be a modern variation of fairy tales like Cinderella or Snow White in which the young protagonist encounters a rich and handsome guy who is immediately and utterly devoted to her and after overcoming some obstacles the two fall in love and live happily ever after. There should be room in our narrative media to tell that kind of story. And so the central question of this review is: does this series tell that story successfully and well? Is this series worth the watch even if the age-gap does not immediately have you noping right out of it? No, no: it is not (IMO, of course).

The primary failure of this series is with the writing and, particularly, the characterization of the male lead, Kurosaki (played by Yamanaka Jyutaro). Despite being a successful, established author securely living on his own the character has all the social skills and knowledge of dating of a middle-school boy. The series begins with his going up to the protagonist Koharu (played by Toyoshima Hana) working behind the counter at her family's onigiri shop and offering her 1,000,000¥ (that's a whopping $6,258.47 at the time of writing) to marry him.

The character's subsequent behavior is not much better with his continuing to pursue a long-term relationship with the repeatedly flustered schoolgirl as she tries to guide him towards more conventional ways of getting to know each other like, you know, going on dates and maybe even, gasp, talking to each other. Kuroskai is portrayed as successful and intelligent enough as a writer to have a large fan following, and yet he is so ignorant of and oblivious to social conventions and how parasocial relationships work that at one point he outs Koharu as a public figure without her consent, doxes her family's shop and then obliviously waltzes into the shop now filled with his fans. And does the script acknowledge in any way that there might be issues and consequences that might entail from his doing so? Nope: it's completely forgotten about by the next episode.

Kurosaki is definitely not portrayed as creepy though in the early episodes all of Koharu's family and friends repeatedly lampshade the issue by calling his actions creepy. The character genuinely does not evidence having any kind of malicious intent throughout the series. I guess we're supposed accept that his good looks and pre-adolescent demeanor somehow disarm the initial suspicions of those who are already close to Koharu: "It's okay! He does not really have hormones yet. At 24 or whatever. His love is pure! And it never stops!"

Koharu, on the other hand, is about as tropey of a heroine as one can find. Yes, she is gorgeous, but she's never had a boyfriend because her mom died and she has to work at the family shop and take care of her younger brothers. But she is also clumsy! What a novel idea! You see that means she repeatedly falls into the arms of whatever guy is around to catch her! What a brilliant idea that has never ever appeared in every shallow, mass market romance ever! And the production can make sure we understand what she's feeling when she's in Koharu's arms by making the screen go all glowy and add CGI sakura wafting gently down the screen.

The acting on the other hand is generally fine to good. This series is Toyoshima's first leading role in a television series after a bunch of interesting and good, solid support roles over the past few years. And Yamanaka is also establishing a good, solid acting career beyond his being an idol in M!lk. This series is overly reliant on voice-over while the leads maintain some sort of relevant expression but both the actors are charismatic enough to pull it off. There are no really deep emotive scenes for either of the two, but they do have reasonably good chemistry together.

This series is not meant to be a realistic exploration of various problematic issues that all societies around the world have to grapple with like consent and appropriate age ranges for first relationships. These issues are not just issues in Japan. But it's not unreasonable to ask that if you're going to make this series, why not have Koharu be in college? What does the series gain by having Kurosaki waiting outside a high school at the end of a school day to pick up Koharu for a date? If this series is meant to be a romantic fantasy for young women, then how would Kurosaki have to be and act for everyone to feel safe in his intentions and actions? This series has no answers to such questions, and instead hopes that the sufficient naivety of the two leads and clouds of supposedly comedic fluff will be enough to obscure the issues.

To swoon or not to swoon, that is the question. I, for one, did not.

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Addictive Historical Shaman Drama That Exceeds Expectations

I was looking for a drama centered around a shaman and happened to come across this one. I decided to give it a try, and it turned out to be a great choice. Going in, all I knew was that the female lead was a shaman, and that alone kept me curious enough to continue. Before I knew it, I was hooked and kept wanting to watch episode after episode.

At first, I was a bit skeptical because it is a historical drama, which is usually not my preference. However, this one completely surprised me. The acting across the cast was impressive, and even the supporting characters left a strong impression on me.

I do wish there had been more focus on the shaman aspect of the female lead, especially her training, her growth into a stronger shaman, and more backstory explaining her abilities despite her lack of proper practice.

Some character deaths felt unnecessary, and the villain’s punishment was not as satisfying as it should have been, especially considering the losses along the way. Overall, it was an engaging and enjoyable watch that exceeded my expectations.

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One of the better BL's in a long while

After the very first episode, you understand that this will not be your normal BL series. The story is very intriguing and really takes hold of you just a few minutes into it.
These two protagonists create a very powerful chemistry between the two of them. A lot of actors in past BL series you can see right through the acting, but these two make this relationship so believable and truly genuine, you can't help but feel how real it is. Having seen Ji Han & Jeong You in past performances, I definitely felt they were both at their best in this drama.
The one negative I walked away with, was at the very end of the final episode. Without giving anything away, It was a bit rushed in the final few minutes. It seemed like it took too long to get to the conclusion, with some wasted reminiscing, using up some valuable minutes. When the peak of the story finally happened, it just seemed a bit empty as the end credits rolled. I think there could have been a little more time given to such a great ending ... I don't want to take away from the series as a whole, because it was high marks all the way, overall making for one of the better BL series to come along in a while.

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Amazing start, shaky middle, dismal climax, good ending—

Here lies another victim of censorship and the 40-episode rule. You watch the show and see how everything is going well in terms of the production, storytelling, and writing; and then it reaches the middle and it falters. And it's all because of the weird cuts you know well that something should have been there. It's such a shame. But Zeng Qingjie has outdone himself, though—I think this is better than Blossom. For Zou Yue, I still think Coroner's Diary is her best work (especially in terms of the romance, but I guess that's more of a personal preference).

STORY:

Like I said, it started REALLY good. I even wrote a lengthy comment before about how the exposition in Lin'an County really set the stage for the events that will happen in the middle part of the show. The Lin'an Arc was so good, I just wanted to stay there. And even when the show ended, I wanted to go back. It's just so PEAK to me. But then, we reached the middle part and despite the several aura farming scenes and Fan Changyu's AMAZING fighting scenes—don't get me wrong, they're cool and I loved every second of them—I feel like the show really fell short when it came to telling the story of the battles they faced. I feel like they focused too much on the "Yan Zheng hiding his identity" plot instead of enriching the story about their life in that military camp, because from what I understood, they were in that camp FOR MONTHS and yet the only thing I clearly remember was the plotline about Xie Zheng hiding his identity (which, they could've written better, by the way). And towards the end of their Military Camp Arc, it was also so obvious that there were LOTS of cuts and I'm guessing it has something to do with censorship (maybe it was too violent?) Because one moment, this is happening. Then the next, another thing is happening. And then all of a sudden, an important general is dead? Didn't even show us how it happened. But it did. And we just have to accept it. And now, Fan Changyu is bedridden and OH she also discovers a BIG secret about her identity. It was all too abrupt. It was obvious that they were rushing things to have space for the Capital Arc.

I say this with no offense meant but maybe they wouldn't have the need to rush important plot points if they took away some of Qi Min and Yu Qianqian's screentimes. It was so unnecessary. I don't understand what they're trying to build up about their relationship and even in the end, it just didn't MOVE me. It's also so frustrating because we get full scenes of Qi Min and Yu Qianqian UNSOLICITED, but for the main couple, we have to beg for scraps of their scenes that they obviously filmed (based from the behind the scenes and leaked clips) but didn't make the final cut. I saw some people blaming Zou Yue for this, but she only writes the script. She doesn't decide what ends up in the final cut and what doesn't. It's the director. And obviously, these scenes were filmed so I really want to know what's going on with Zeng Qingjie when he decided to explore their relationship and dynamic for nothing.

Now, for the final arc—it was all over the place. The climax was dismal. And resolving the conflict of the show with dreams and chance discoveries? It's pure lazy writing and I will die on this hill. I remembered how chaotic the writing was in the last arc of Coroner's Diary, too and I'm faulting Zou Yue for this one. But I loved the reveal about Wei Yan, though. Truly a compelling villain (if we can even call him that; he's more of an anti-hero for me). I wish they explored Xie Zheng's dynamic with Wei Yan more. It was just so interesting to see how he's Wei Yan's pride and joy, but he's also the one person who can beat him in his own game and I think it unsettles him. I also wish they explored Xie Zheng's emotional turmoil more. I think he is complete as a character in terms of merits. He became a Marquis at a young age and it's well-deserved because he is both a good strategist and a good fighter—and it's pretty much established. But I feel like there's something that falls short in terms of his emotional struggles—especially his feelings about his parents, his uncle, his cousin, and basically his life before Changyu and how they related to her. It feels like they just dumped some scenes here and there about his interactions with them as a child and called it a day. There's no depth in it aside from what they want to evoke from the audience during that exact scene, which they try to get away with through editing.

As for how they showed Fan Changyu—from her humble beginnings as a butcher from Lin'an to her rise to power as a Great General—NO NOTES. I loved seeing every chapter of Fan Changyu's life. It's like seeing my little baby grow.

Last thing: I wish we got more of the alternate universe. I would really pay to see more of Xie Zheng and Fan Changyu being childhood sweethearts. (Instead, it feels like they set up everything for that specific scene at the end. But, whatever. Good to know that Qi Min and Yu Qianqian won't involve themselves with each other in their other life. They're physically repulsed by it. I'm repulsed by the idea of them, too.)

ACTING/CAST:

Like I have always said, my only criteria to say that an actor is good is when I'm able to enjoy the show while watching him or her. If the actor delivers what he has to deliver and make me feel for their character, then they're good in my books. For this show, everyone has done a good job in doing that. I felt for every character, whether good or bad, whether I love them or I hate them.

Special mention to Tian Xiwei because she really brought Fan Changyu to life. She has always been one of my favorite actresses, and I have trust in her acting skills, but seeing her as Fan Changyu was still a pleasant surprise, even as a long time fan of hers. She has improved so much over the years and I'm just so happy to see her getting the recognition she deserves through this project.

As for Zhang Linghe, I'm not particularly a fan of him, but I tend to end up watching his shows because for some reason, he always ends up in good shows. And from what I've seen, it's clear that he has also improved a lot. He was convincing in both personas as the ruthless Marquis Wu'an and the gentle matrilocal husband Yan Zheng. It was such a joy to see his pretty face on screen, I'm not going to lie. This is the best he's ever looked on camera, and mind you, he has always looked good.

I would also like to applaud the actors for Yu Bao'er and Fan Changning because they really held their own in their scenes, especially the actor for Yu Bao'er. These kids are definitely going places!

Special Mention 1: To the actor who played the Emperor. He's so convincing as a useless emperor, I couldn't help but roll my eyes whenever his scenes come up. But at the same time, I also couldn't help but feel sad for him in the end. He's a victim in all of this and things would have been better for him if he remained a prince. It's clear he had no ambition, but he was suddenly thrust into power and given more than enough food than he could chew. The actor did so well in portraying the helplessness of it all.

Special Mention 2: To the actor who played Wei Yan, Yan Yikuan. NO NOTES. Truly amazing performance as Wei Yan. It's also so convincing that he's Xie Zheng's uncle. They really look like they share the same genes, even Xie Zheng's mom. I think this is one of Zeng Qingjie's strengths—picking the perfect actors to play as family members and finding the perfect actors to play as the younger versions of other actors.

MUSIC:

The OSTs of this show are all ICONIC and the way you can associate certain scenes or know what kind of scenes will be shown from the OSTs alone show how effective they are in bringing up the whole atmosphere of the show. I especially love "Pure As I Am" by Yisa Yu because I really love the tender moments between Xie Zheng and Fan Changyu. They're just so sweet and heartwrenching in a good way.

REWATCH VALUE:

I will DEFINITELY rewatch this for the Lin'an Arc. Their domestic life was just so cozy and like I said, I really wish we could just stay there. It's such a memorable arc for me and I want to return there again and again. What I feel about Lin'an is like those trends on TikTok where they caption it with: "Not my place, but I know my way around." Because even with the petty fights with the neighbors, even with people looking down on them despite the big destiny they hold, Lin'an is still home.

OVERALL:

I initially said above that it's such a shame that such a good show faltered midway. But then, I can't deny that this is still an amazing work. So, congratulations to the casts and crew because this is really a memorable show in a sense that it was a very enjoyable watch and I've never felt so excited about watching a historical show since Coroner's Diary.

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